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The Musical Times and Singing Class Circular, Vol. 17, No. 405 (Nov

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The Musical Times and Singing Class Circular, Vol. 17, No. 405 (Nov Review Source: The Musical Times and Singing Class Circular, Vol. 17, No. 405 (Nov. 1, 1876), p. 668 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3354892 Accessed: 22-03-2015 11:40 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Sun, 22 Mar 2015 11:40:10 UTC All use subject to JSTOR Terms and Conditions 668 THE MUSICAL'rIMES.-NOVEMBERI, I876. that the music contained in the thirty-two parts of the written and full of spirit. The opening, after a short Journal already published should be of somewhat unequa]1 symphony, when the chorus enters in unison, with full merit. It speaks well for the industry of the editor thatt harmony in the orchestra, is broad and effective. The mo- original contributions by no fewer than eighty two differentt dulations on the second and third pages are somewhat xvriters have appeared in the columns of the work. Oif abrupt, and will require careful singing on the part of the these a large number have been from English pens; and itt chorus. A short quartett, " And His mercy is on them that may fairly be said that on the whole we have held our own fear Him," leads to a good point at the words " He hath against foreign writers. The three numbers now underr shewed strength." The symphony introducing the " Glory " notice may be taken as fairly representative of the average seems to have been suggested by a passage in the finale of alerit of the journal; we shall therefore briefly enumerater Mendelssohn's first Organ Sonata * but the chorus itself is their contents. Part 30 commences with a set of variations very good, especially the fugued " As it was in the beginning " by the editor on the psalm-tune " Jerusalem the golden,' ' The " Nunc Dimittis " is very short, almost disproportionaliy which are well laid out for the organ, and in their wayr so; but this will probably be rather a recommendation effective, though to some extent suSerinfflfrom poverty, orr than otherwise, as regards its performance. It is very perhaps we should rather say monotony, of harmony. IfS good, but requires no detailed notice. The " Glory " is an our readers will compare these variations with those byr abridgment of that in the Magnificat. Mendelssohn on the "Vater unser " in his Sixth Organk TheAnthem " O taste and see," though not likelyto make Sonata, they will see what we mean. Next comes a short; us forget Sir John Goss's charming setting of the same and pleasing Larghetto by Mr. J. E. Richardson, organist ofS words, is very pleasing and melodious. Apart from all Salisbury Cathedral, which is followed by a not particularly comparisons, sve like it much, and can heartily recommend striking Andante by E. A. Sutton. Two excellent Minuets,, it. Excepting the very clever enharmonic modulations on one by Mr. Hamilton Clarke, the other (Per un Organo dii the sixth and seventh pages, it will be found by no means Salone) by M. Silas, complete this number. The form of5 difficult to sing. the Minuet seems to be grosving in favour with writers for the organ: we find four examples of it in these three numbers. The lSrstpiece in Part 3I iS a neat little Andante; AUGENERAND CO. by H. H. Battley. We then find a very good " Postlude " Six celebrstedToccstas, for the Pianoforte* Composed by Arthur Carnall, which (though not so entitled) is really by Muzio Clementi, Francesco Pollini, George Onslow, Carl a March with Trio. A " Prelude and Fugue " in D, by Czerny, Carl Mayer, and Robert Schumann. Revised and Jacob Bradford, is, in our opinion, very dry, and in places the fingering supplemented by E. Pauer. most uncomfortably harmonised. The following " Andante HERR PAUERhas done good service by bringing these con moto," by E. H. Turpin, is also not free from a sus- Toccatas to the notice of teachers who desire that their picion of dryness, though we like it better than the pre- pupils shall cultivate both a good touch and a classical ceding piece. The last piece in this number is a very good taste. No. I, by Clementi, will be found extremely usefu} Fugue in D minor by Mr. Frederic Archer. Part 32 is for the practice of double notes, passages in thirds and on the svhole decidedly the best of the three. It contains sixths for the right hand abounding throughout. As a a Minuet and Trio by Mr. Henry Smart, whose name is of piece of music it may be said to be somewhat dry, but as a itself sufficient recommendation of his music, a very excel- study it is everything that can be desired. Little is known lent Fantasia (evidently for concert rather than church of Pollini; but so great an authority as Liszt has declared use) by Mr. W. S. Hoyte, an unpretending but pleasing that in some of his pianoforte works he has foreshadowed Andante by Mr. John Wrigley, and a very pretty, if some- the effects of Thalberg- and we have ourselves seen a what Mendelssohnian, Minuet and Trio by Mr. J. Baptiste composition of his written in three lines, a principle we know to have been adopted by his more popular successor. The Toccata before us is melodious in the extreme. and WILLIAMRE EVE S. so carefully written as to give the impression of its having Orga1zMzcsic, by eminent composers. Selected from the been designed for the first movement of a Sonata. It Msical Stalldslrd. srould be well for students to make themselves acquainted with some of the works of this neglected composer. THIS little book contains a selection of short pieces Onslow's Toccata may also be recommended as a good' mostly of two or three pages each, which raises in our study for passage-playing in both hands; and Czerny's minds the question, What constitutes an eminent composer ? has all the effect of a well-considered exercise for double This question our readers can determine as well as our- notes. There is no particular reason why Carl Mayer's selves; and for their guidance, we give them the list of graceful piece should be termed a "Toccata-" but as he those whose names appear in this publication. We find has called it so, we are bound to accept his title. Like all one piece each by Schubert, Handel, and Sterndale Ben- the works of this composer, it is extremely melodious, and nett, as to whose eminence there can be no two opinions will be certain to please a mixed audience * but, considered the other contributors to the work are Charles W. Smith merely as a study, it may be practised with advantage Edward Griffiths, C. J. Frost E. T. Driffield, Pierre J. especially for rapidly-reiterated notes. We have copie Claessens, John Jackson, Charies H. Nottingham, Boyton the general title^page of these Toccatas, on hich a sixth Smith, Edward J. Crow, C. Evers, T. Mee Pattison, W. one, by Schumann, is mentioned, but this has not reached J. Westbrook, F. E. Gladstone, L. Kozeluch, and John us, and may perhaps not yet be published. Pachelbel. We have nothing to say avainst this list; but several of the names are certainly new to us as those of " eminent composers." B. WILLIAMS. SteMioogStowzes {o tAssStclft Notstio11. By Francis T. WEEKES & CO. Brooks. A Festival Scftiolg of the MaglziJiccrtand N?.:ncDimittis, WE fail to see any special reason why a new Treatise in the key of D major. By HumphreyJ. Stark, Mus. Bac., on the Staff notation should be published, a fact which we Oxon. think even Mr. Brooks would admit were he to glance at the number of such works which accumulate upon our re- " O taste ald sse how g1tacios the Lord is," Anthem for viewing shelves during a twelvemonth. We are inclined four voices. By Humphrey J. Stark, Mus. Bac., Oxon. too, to doubt whether in the multiplication of " Methods " MR. STARK'SMagnificat and Nunc Dimittis are svritten there is not a danger of students becoming mystified as to originally with orchestral accompaniment, but so few in- the relative merits of the " absolute" and " relative " dications of the instrumentation are given in the organ merits of notations, because in many of these, instead of arrangement that it is difficuIt to form any decided judg- boldly teaching the one or the other as the truth, we see a ment as to the full effect of the work. This much, how- tendency to use as much as is convenient of both. In the ever, can safely be said, that the whole service is well book before us, for instance, we find the syllables Soh and This content downloaded from 128.235.251.160 on Sun, 22 Mar 2015 11:40:10 UTC All use subject to JSTOR Terms and Conditions.
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